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SPOOK04  23' SPOOK911 episode: guns and roses

EXT AFTERNOON WIDE: SIDEWALK IN FRONT OF BANK

(Nanny and Katie walk by the bank window)

                             NANNY

You just got that cell phone for Christmas last year.

                             KATIE

But now there's a newer one.

                             NANNY

So, your dad is going to let you buy a new cell phone even
though the one you have works perf....

                             KATIE

(points toward window)

Nanny! Those guys in there are robbing that bank!

(stops, turns)

                             NANNY

(grabs Katie's elbow, spins her around)

You had to plead with your dad to hire me back after your last
vigilante stunt.

(pulls out cell phone, puts it to ear)

We'll let the police handle this.

(to phone, as Katie slips out of frame stealthily)

Yes, there's an armed bank robbery in progress at Merchants Bank
on Tenth and...

(looks around, sees Katie headed toward the bank entrance,
turns)

Broadway. Katie!

(pockets phone, runs)

(Katie enters bank, Thug1 closes bank door and locks it as Nanny
approaches, Frustrated, Nanny turns away)

This is a nightmare!

INT AFTERNOON WIDE: BANK LOBBY

                             THUG1

(points shotgun at Nanny)

Get down on the floor. Face down, now!

(Katie lies face down, camera angle widens to show several
customers and tellers face down on the floor as Thug1 climbs up
on a counter, sweeps gun in all directions)

EXT AFTERNOON SPLIT-SCREEN: BANK WINDOW

(Nanny stands at corner of building looking through window out
of view of robbers, pulls earwig from under collar, inserts it
into ear, waits for Katie to insert her own earwig)

                             NANNY

Katie, if you can hear me, touch your ear.

                             KATIE

(touches ear, whispers, voiceover)

Sorry, Nanny. I didn't know they were going to lock you out. Are
you mad at me?

                             NANNY

What part of "We'll let the police handle this" didn't you
understand?!

                             KATIE

You are mad at me.

                             NANNY

No. I'm furious!

                             KATIE

We can do this, Nanny! This will be a piece of cake compared to
our last mission.

                             NANNY

Silly me! I thought being a nanny would be a piece of cake!

INT AFTERNOON WIDE: BANK LOBBY

(Thug2 begins emptying cash drawer and Thug3 pushes bank manager
into the vault)

                             THUG1

Quiet! If anyone moves, I'll blast you!

                             KATIE

(waits until Thug1 turns away)

Nanny, you got a mission plan yet?

                             NANNY

Yes. I'm grounding you for two weeks.

                             KATIE

Don't be mad. This is fun!

(looks around subtly)

Nanny, I think we can do this. The door to the tellers cages is
propped open.

                             NANNY

This is a nightmare! Katie, listen. The cops will be here within
five minutes. If we do nothing, these robbers will be gone
before the cops get here. So, please don't be a hero.

(pauses)

Katie, are you listening?

(pauses)

Katie?

Alright, Katie, I know what you're thinking. You're going to
play the superhero again. But think before you act. Don't take
down the guy on the counter until after you click on the safety
on his shotgun. Otherwise, if he falls, the gun will go off. And
before you take him down, you need to divert the attention of
the guy behind the teller's window.

(Katie nods subtly, then makes a subtle sweeping motion with the
back of her hand)

(Special affect: the duffle bag on the teller's counter sweeps
off the counter and onto the floor)

                             THUG2

Rats!

(bends over out of sight)

                             THUG1

(panicked, looks around for Thug2)

Lenny?! Lenny?! What's going on?!

(Katie makes a subtle tapping motion with her index finger)

(special affect: the safety on Thug1's shotgun clicks on)

(Katie makes a subtle hugging motion with her arms as Thug1
adjusts his feet to turn toward Thug2)

Lenny, is everything alright?

(Thug1 loses his balance, he falls onto the counter, then
bounces onto the floor, unconscious)

(Katie turns toward the main door and makes a twisting motion
with thumb and forefinger)

(Special affect: the bank's front door unlocks)

                             KATIE

(loud whisper, points)

Hey, the door is unlocked. Let's get out of here!

(everyone in the lobby stands and runs out the door. Katie
stands quickly, sneaks to the access door to the teller's cages,
on the way, she turns toward Thug2, she makes a grasping and
pulling motion with own hand)

(special affect: the cash drawer over Thug2's head opens)

(Katie crouches out of sight near the teller area access door)

                             THUG2

(stuffing the last of the spilled money back into the bag)

I'm okay. I'm okay. I just dropped the money on the floor.

(as he stands up with the duffle bag in his hand, he bangs his
head on the underside of the drawer, the money goes flying, he
falls to the floor, stands rubbing his head, looks around.)

Where is everybody?! Where's Vinny?

That lily-livered coward!

(runs into vault, shouting)

Howard, Vinny ran away! We've got nobody guarding the door! We
need to get out of here!

(Katie, moves into doorway, makes a subtle pushing motion with
both hands for several seconds)

(Special affect: the vault door slams behind Thug2)

(Katie makes a wheel-turning motion with her hands)

(Special affect: the locking wheel on the vault twirls)

(Sound cue: sirens approach)

                             KATIE

(walks casually toward the door, dusting off her hands)

My work here is done.

                             NANNY

(voiceover)

Katie, use the back door, unless you want to answer questions
from the police.

                             KATIE

(turns, runs to back door)

Nanny, you're not going to tell my dad about this, are you?

EXT AFTERNOON TWO-SHOT: BANK BACK DOOR

(Katie exits bank smiling)

                             NANNY

(turns and walks away as Katie exits bank)

I can't do this anymore.

                             KATIE

(follows)

Do what? Nanny?

                             NANNY

This is all my fault.

                             KATIE

What are you talking about, Nanny?!

                             NANNY

I think my experience as a soldier is giving you false security
that I can protect you from anything. I can't. I think it's best
for your safety that your dad finds you another nanny.

(exits frame)

                             KATIE

(exiting frame)

Nanny! No!

EXT MORNING WIDE: WILDERNESS CABIN

(Nanny, dressed in pajamas, sits in lounge chair on porch
reading book, as an eagle screeches. Nanny turns a page, reaches
to bowl of strawberries, looks past bowl to driveway. A black
limousine approaches. She resumes reading.)

                            ANDREW

(exits limo, approaches Nanny)

Good morning, Nanny.

                             NANNY

(without looking at Andrew)

You've got the wrong person. I'm not a nanny anymore.

                            ANDREW

I'm not here to ask you to do a nanny's job. I need a black ops
soldier. Are you available?

                             NANNY

Katie is not involved?

                            ANDREW

No.

                             NANNY

(puts down book, makes eye contact)

I'm listening.

                            ANDREW

My wife disappeared. I think she's been kidnapped.

                             NANNY

Have you received a ransom demand?

                            ANDREW

No.

                             NANNY

So, what makes you think this is anything but you're wife out
partying and losing track of time?

                            ANDREW

After Katie's kidnapping and the bomb plot, I insisted that she
call my personal cell phone twice a day. It's been a whole day
since she last called.

                             NANNY

Did you check her cell phone usage?

                            ANDREW

Yes. Not a single phone call for a whole day.

                             NANNY

Maybe she's in a country that doesn't support her cell phone
service.

                            ANDREW

She's in Dubai. They support all cell phone services there.

                             NANNY

Dubai?! Another shopping trip?

                            ANDREW

(nods)

Will you find her for me and bring her home?

                             NANNY

It could take me days just to find her. Have you talked to the
Feds?

                            ANDREW

You know their rules. They won't even start looking for her for
two days. You can be there in fourteen hours if you use my
corporate jet. I've got them standing by at the airport. It's
all fueled and ready to go. Please?

                             NANNY

It's a shame you didn't give your wife a locket for Christmas.

                            ANDREW

She didn't like the fashion statement. Next time I'm going to
insist.

                             NANNY

(stands)

I'll need a satellite phone and a satellite datalink.

                            ANDREW

Done.

                             NANNY

(moving toward cabin)

I'll need to look at your wife's credit card usage and cell
phone records to narrow my search.

                            ANDREW

I've got my people working on them as we speak. I'll have them
downloaded to the jet as soon as we get them.

EXT MORNING WIDE: AIRPORT RUNWAY

(Corporate jet takes off)

INT MORNING WIDE: CORPORATE JET PLANE

                             NANNY

(seated alone in a passenger seat, speaking on sat-phone,
surrounded my maps and printouts, reads chart, marks X on map)

As far as I can see, Mrs Worthington never strayed more than
three miles from the Hotel. If she left Dubai, she did it AFTER
she stopped using her cell phone and her credit card.

The problem is, even in Dubai, it could take me days to track
her down. Do you have any idea what specifically she was
shopping for?

Do you know what she was shopping for in Istanbul?

I'll keep trying to narrow the search. I'll get back to you if I
make any progress.

(takes a drink from a glass, stands, stretches, crosses to
toilet, opens the door, reveals Katie)

Katie Worthington! What on earth are you doing here?!

                             KATIE

Please don't be mad at me, Nanny. I just want to help.

(shows passport)

I brought my passport!

                             NANNY

(paces, hand to head)

Katie! What am I going to do with you?!

(stops, points at seat)

Go pick up that sat-phone and call your father. He's probably
having a heart attack about now.

                             KATIE

You're mad at me.

                             NANNY

(points)

Do it!

(Katie exits toilet, exits frame, Nanny enters toilet, slams the
door)

(time passes)

(Nanny exits toilet, crosses to Katie, who is still on the
phone)

                             KATIE

Got to go, Daddy. Nanny is going to read me the riot act.

(clicks off phone, puts it down, folds hands on lap)

Let me have it. I know I've got it coming.

                             NANNY

What was your mother shopping for?

                             KATIE

Excuse me?

                             NANNY

What was your mother shopping for? In Dubai? In Istanbul? What
was she shopping for?

                             KATIE

Does this mean you're not going to yell at me?

                             NANNY

Answer the question.

                             KATIE

Oriental rugs.

(Nanny sits and studies papers and maps)

She sent me a picture of the one she wanted to buy for my
bedroom. Want to see it?

                             NANNY

She didn't have any charges for rugs in Dubai or Istanbul.

                             KATIE

The rug merchants will only take cash.

                             NANNY

Very interesting!

(points to laptop)

Get onto the internet and see if you can locate some oriental
rug dealers in Dubai.

                             KATIE

(pokes keys on laptop)

I'll bet you're glad I came along, huh?

                             NANNY

(not looking up)

Don't press your luck.

INT MORNING MONTAGE: DUBAI ORIENTAL RUG MERCHANTS

(Nanny offers 4x6 picture of Mrs Worthington to merchant, he
shakes his head. Nanny gives picture to another merchant, he
takes picture, hands it back while shaking his head. Katie
offers picture to female merchant, she shakes her head. Katie
gives picture to female weaver, she takes picture, shakes head,
hands back picture. Nanny offers picture to merchant. He shakes
head and waives his hand without looking at picture. Nanny
insists, he looks at picture, quickly looks away, shakes head,
whisks her away with the back of his hand. Nanny exits)

EXT MORNING TWO-SHOT: DUBAI ORIENTAL RUG STORE

(Nanny exits store pushing Katie by the elbow)

                             KATIE

Where are we going? There's a weaver in there I haven't talked
to yet.

                             NANNY

(pushes Katie around corner and out of sight of merchant, pulls
out monocular, looks into window stealthily)

I think we have a lead.

                             KATIE

Did the owner tell you where Mom is?

                             NANNY

No. But he recognized her.

                             KATIE

Why don't we go in and ask him?

(turns)

                             NANNY

(grabs Katie's elbow)

Stop. You're not helping.

(resumes spying)

                             KATIE

(hiding from view of merchant)

I'm sorry. I get carried away, don't I?

                             NANNY

That merchant not only recognized your mother's picture, he was
alarmed.

                             KATIE

What are you looking for?

                             NANNY

He's dialing the phone. It's a local call. 6434.

(pulls Katie)

Let's go.

                             KATIE

(follows)

Where are we going?

                             NANNY

Whoever owns that phone number knows where your mother is.

INT NOON WIDE: HOTEL FRONT DESK

                             NANNY

(approaches clerk with Katie)

Hi, I'm investigating the disappearance of Elaine Worthington. I
believe you talked to our people on the phone.

                             CLERK

Yes. How may I help you?

                             NANNY

Did Mrs Worthington have any guests or deliveries while she was
here?

                             CLERK

Yes. She received a rather large bouquet of flowers.

(points)

See the hotel florist, if you need more information.

INT NOON WIDE: HOTEL FLORIST

                             NANNY

(approaches clerk with Katie)

Hi, I'm investigating the disappearance of Elaine Worthington.

                            FLORIST

She disappeared?!

                             NANNY

Yes. Is there anything you can tell us?

                            FLORIST

Have you talked to the man who sent her the big bouquet of
flowers?

                             NANNY

No. Do you remember who he is?

                            FLORIST

Of course! He's one of the richest men in the country. His name
is Sheik Machmud Al Rahe. Maybe she's staying at his palace.

                             NANNY

Would you happen to know where he lives?

                            FLORIST

Yes, of course. It's about three miles north of the city just
off the main road. It's hard to miss. It looks like a hotel.

                             NANNY

Do you have the order form?

                            FLORIST

Yes, of course. His assistant ordered the flowers by phone.

(pulls slip from stack)

                             NANNY

What was the phone number?

                            FLORIST

555-...

(Nanny notices two well-dressed thugs talking to the hotel desk
clerk who points at Nanny, they turn toward Nanny)

                             BOTH

...6434

                            FLORIST

How did you know?!

                             NANNY

(pushes Katie out of sight)

Thank you so much for your help. Say, is there a back door to
this shop?

                            FLORIST

Yes.

(points)

But it's not very tidy.

                             NANNY

(pushing Katie to back exit)

You've been very helpful. Thank you.

INT AFTERNOON TWO-SHOT: RENTAL CAR

(Nanny and Katie enter the car simultaneously and slam the doors
quickly)

                             KATIE

Can I talk now?

                             NANNY

(scanning in all directions)

All clear.

                             KATIE

Who were those guys?

                             NANNY

They work for the sheik.

                             KATIE

Why are they after us?

                             NANNY

Because we asked questions about your mother.

                             KATIE

So, you think the sheik had Mom kidnapped?

                             NANNY

Well, I doubt that he would use the word KIDNAPPED.

                             KATIE

I don't understand.

                             NANNY

The sheik wants to marry your mother, if he hasn't already.

                             KATIE

But she's already married!

                             NANNY

Yeah, well, that's not much of a problem for a guy with a lot of
money and the government of his country in his pocket.

                             KATIE

Why would he want to marry a woman who's already married?

                             NANNY

Her marital status has nothing to do with it. Your mom is a
beautiful woman and the sheik has a need for beautiful wives.

                             KATIE

Wives? More than one?!

                             NANNY

Lots of beautiful wives. The more the better.

                             KATIE

I don't get it.

                             NANNY

In America, the measure of a successful man is expensive cars or
expensive watches, or, like your dad, a big house and his own
airplane. Here in the Arabian peninsula, the measure of a
successful man is lots of beautiful wives.

                             KATIE

Yeah, but other people's wives?

                             NANNY

To a man trying to look successful, there is nothing he won't do
to get a beautiful woman.

                             KATIE

That is really creepy! We need to get her away from him!

                             NANNY

We need to wait til after dark.

EXT NIGHT POV: SHEIK AL RAHE'S PALACE

(Nanny scans the grounds of the palace with a night scope,
stopping and zooming in when she sees a surveillance camera or
one of two wandering guards. The palace is completely surrounded
by a ten-foot high wall. A swimming pool is between the main
house and what looks like a guest house.)

                             KATIE

(whispers voiceover)

Can you see my mom?

                             NANNY

(whispers voiceover)

No. But I'm pretty sure she's in the building on the back side
of the swimming pool.

                             KATIE

Let's go get her!

                             NANNY

Katie, do you remember why I never want to take you on a mission
where you know the victim?

                             KATIE

Because I lose my objectivity. Sorry, Nanny. I'm standing by for
your command.

                             NANNY

(points scope at Katie as she offers it)

Here. Take a look at the back corner of the palace closest to
us.

                             KATIE

(points the scope at the corner of the palace, zooms in on the
camera attached to it)

The surveillance camera?

                             NANNY

Yes. On the back side of the camera is a power cable and a video
cable.

                             KATIE

The video cable is the thicker wire just like on my TV.

                             NANNY

Except this cable has a different connector. To disconnect it,
you push in and then turn it a half turn counterclockwise, then
you pull

                             KATIE

Push in and turn counterclockwise, then pull. Got it. Waiting
for your command.

                             NANNY

(points in front of scope)

Now over on the corner of the harem.

                             KATIE

The what?

                             NANNY

The harem, the dormitory for the sheik's wives.

                             KATIE

(turns camera)

That whole building is for his wives? How many wives does he
have?!

                             NANNY

Stay focused.

                             KATIE

(zooms in on corner mounted camera)

Sorry, Nanny.

                             NANNY

Can you reach the video connector on that camera too?

                             KATIE

The connector is on the wrong side. It will be harder to reach.

                             NANNY

Yes or no.

                             KATIE

Yes. Waiting for your command.

                             NANNY

Then we're go for rescue. After I take out the two guards on
patrol, the guard watching the video screens inside the palace
will radio the men and, when they don't answer, he'll come
looking for them. He will be carrying a gun. You need to warn me
what door he's coming out of so I can be ready for him.

                             KATIE

Got it. Two video cables on your command, then I watch for the
third guard to come out. Right? Right?

(turns scope toward Nanny, but all she's sees is the top of the
wall)

Nanny?

(sweeps scope left and right frantically)

Nanny?

Oh. Oh, my earwig!

(lays scope down on the top of the wall for several seconds,
picks it up again, scans the grounds slowly)

Nanny? Do you read me?

                             NANNY

Loud and clear.

                             KATIE

(scans the grounds)

Where are you?

                             NANNY

I'm hiding from the guard who is coming toward me.

                             KATIE

(focusing on the guard patroling the back of the palace)

So, if you're hiding, obviously, noone can see you. Waiting for
your command.

                             NANNY

Katie, I can't see the other guard from here. Focus your scope
on the guard on the balcony in front of the harem. When he turns
his back, disconnect video cable number one and then give me the
GO.

                             KATIE

Copy that.

(turns the scope to the guard walking on the second story
balcony in front of the harem, when he turns away to walk down
the stairs, Katie turns the scope toward the palace, zooms in on
the corner of the building, and then zooms in on the video
camera)

Push... and... turn... and pull.

(special affect: the cable disconnects, then dangles)

Camera one disconnected. Go.

(turns scope to the guard below video camera, Nanny springs out
from behind a bush, flips him over her hip to the ground, smacks
him with the heel of her hand, drags him behind a bush)

(turns scope toward harem guard, now on the ground floor walking
toward the camera, when guard stops to check door knob, Katie
turns scope toward Nanny, sees her scamper from bush to bush.)

                             NANNY

Ready camera number two.

                             KATIE

Ready camera number two.

                             NANNY

Three, two, one, zero.

                             KATIE

(turns scope toward corner mounted camera on harem building,
zooms in)

Push... and...

Push... and...

Push... and...

                             NANNY

Katie, we're losing our window of opportunity. Do you want me to
go to a backup plan?

                             KATIE

No. I'm good.

Push... and... turn... and pull.

(pants)

(special affect: the cable disconnects, then dangles)

Camera two disconnected. Go.

(turns scope to the guard below video camera, Nanny springs out
from behind a bush, flips him over her hip to the ground, smacks
him with the heel of her hand, drags him behind a bush)

                             NANNY

Katie, do you have eyes on the third guard?

                             KATIE

Third guard! Oh!

(turns scope toward palace, sweeps left and right)

The guard from the video surveillance room!

                             NANNY

Katie!

                             KATIE

(zooms in on the third guard with pistol at the ready, then
zooms out to show that he's less than 50 feet from Nanny)

I see him! He's right next to you.

                             NANNY

(looks around for a place to hide)

Katie, I need a distraction.

                             KATIE

I can do that.

(zooms in on a bush)

(special affect: branches on the bush rustle.)

(guard aims pistol at bush, changes direction. Nanny attacks
from behind, grabs the pistol, smacks him with it and drags him
behind a bush, returns from behind bush, looks at Katie, hands
on hips, deep breath)

Sorry, Nanny. I lost focus.

                             NANNY

No harm done.

(raises hand dangling keys)

I have the keys to the harem. I'll get your mother and bring her
out the north gate.

(points)

You drive the car around to the other side.

                             KATIE

I'm only twelve. I don't know how to drive.

                             NANNY

That's okay. It's a rental.

EXT NIGHT WIDE: PALACE NORTH GATE

(Katie jerks the car to a stop near the gate, exits the car,
looks around)

                             KATIE

(whispers)

All clear.

                             NANNY

(exits gate first, looks around, nods, opens back door, motions
to Elaine, whispers)

Get in.

(Elaine exits gate dressed in "I dream of Jeanie" costume)

                             KATIE

(runs and hugs Elaine, whispers)

Mommie!

                            ELAINE

Katie! What are you doing here?!

                             NANNY

Get in! Quickly! Time is of the essence.

(Katie and Elaine enter back seat, Nanny closes door)

INT NIGHT WIDE: RENTAL CAR

                             NANNY

(drives car at high speed, looking repeatedly at the rear view
mirror, dials cell phone)

Captain, warm up the engines. We have Mrs Worthington and we're
on our way. E.T.A. two minutes.

(pockets phone)

                            ELAINE

(cuddles Katie)

Nanny, how could you endanger my daughter like this?!

                             NANNY

Believe me, it wasn't my idea.

                            ELAINE

What do you mean?

                             KATIE

I stowed away in the airplane.

                            ELAINE

Katie! These people are ruthless! You could have been hurt!

                             KATIE

Nanny wouldn't have found you without me, right, Nanny?

                             NANNY

She's right. Without Katie to narrow my search, I would still be
looking for you.

                             KATIE

And I disconnected the surveillance cameras at the palace so
Nanny could disable all the guards.

                            ELAINE

How could you disconnect those cameras?! They're out of reach!

                             KATIE

Mom, I have something to tell you that I maybe should have told
you before.

                             NANNY

(eyeing rear view mirror, sees headlights approaching)

Katie, you can explain later. We have company.

(both Katie and Elaine turn and look out the back window)

                            ELAINE

What are we going to do?

                             NANNY

First of all, Elaine, you need to trade places with Katie.

(Katie responds)

                            ELAINE

(hesitates)

I don't see what good this is going to do.

                             NANNY

The sheik's thugs are going to pass us on the left. So, I'll
need Katie next to the window.

                            ELAINE

You're going to put my daughter in danger again?! How dare you?!

                             NANNY

Just do it!

(Elaine complies, the thugs' car passes them on the left, a thug
opens the passenger side window and waves pistol and shouts)

                             KATIE

Permission to rescind the order, Nanny?

                             NANNY

Permission granted.

                            ELAINE

What order?

                             NANNY

(Fastening own seatbelt)

Fasten your seatbelts, please, this could be a rough ride.

(Katie joins hand palms up and raises them suddenly)

(special affect: the thug's hand raises involuntarily and smacks
against the top of the car door, the pistol flies out of his
hand)

(Thug reaches toward driver, retrieves another pistol, points it
out the window)

(Again Katie joins hand palms up and raises them suddenly)

(special affect: again the thug's hand raises involuntarily and
smacks against the top of the car door, the pistol flies out of
his hand)

(The driver of the car veers into Nanny's lane, she veers to
avoid a side collision. Then it happens again)

                             NANNY

Katie, I think this driver needs help steering his car.

                             KATIE

Copy that.

(Katie makes a steering motion to the left with her hands)

(special affect: the thugs' car veers off the road to the left,
sheers off a fire hydrant and crashes into a tree, Nanny's car
continues through the gate toward the waiting airplane.)

Nice work, Katie! Good driving!

                             KATIE

Thank you, I've been practicing.

                            ELAINE

Katie Worthington! Will you please explain to me what just
happened?!

2013 Bob Snook. Conditions for use:
Do not sell any part of this script, even if you rewrite it.
Pay no royalties, even if you make money from performances.
You may reproduce and distribute this script freely,
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http://www.bobsnook.org  email: bob@bobsnook.org

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